Robbie Robertson Last Waltz Stratocaster Loaded Pickguard Hand Wound Pickups & Hand Wired Tribute by Migas Touch Pickups White 8 Hole. You can now have this historic loaded pickguard which was made to the specs from the Fender Custom Shop Model. Migas Touch Pickups Hand Wound 54 in the neck, left handed 59 flipped upside down in the middle and 69 in the bridge. Hand wired running the middle and bridge together to make a humbucker style and the 3 way switch wired so the selector. Just like Robbie’s we used telecaster knobs which he said were easier to control. The pickups are wax potted and made to vintage year specs. This is truly amazing sounding and let you quickly turn your start into the Last Waltz Guitar. We also have them in black both 11 hole and 8 hole and white 8 hole so check my other listing or send us a message. Note: Your stratocaster body may need to be routed to fit the middle and bridge configured pickups. Here’s the info from Fender Custom Shop official site. On the evening of November 25, 1976 at San Francisco’s famed Winterland concert venue, the lights dimmed, and a hush fell over the crowd as The Band took the stage for one last time before they dissolved into the annals of history. This historic farewell concert was documented for posterity by filmmaker Martin Scorsese, but guitarist Robbie Robertson-the man who used his trusty Fender to back up Dylan when he went electric-thought the moment deserved more commemoration. He had his favorite guitar, a red 1954 Stratocaster, dipped in bronze to commemorate the life-changing moment. He proceeded to play this now one-of-a-kind instrument during the course of the concert, cementing its place in legend. The Last Waltz Stratocaster is a rare, unique glimpse into the history of guitar modifications, specifically ones commonly performed in the’70s. During this time period there was no such thing as a valuable vintage guitar-there were only “old” guitars that were the perfect platform for experimentation. Master Builder Todd Krause replicated this classic instrument as closely as possible to the state it was in when the concert was filmed. From the NOS tone capacitors and knobs with the same tension as the original, to the airbrushed headplug and “wear beneath the wear” on the back of the neck, every element was reproduced as meticulously as possible. The Last Waltz Stratocaster’s gleaming bronze finish was applied “Old World-style”; the guitar was actually dipped into the bronze instead of the contemporary process of forming the bronze around it. The result-a thin coating that penetrates the body wood, revealing the wood grain through the bronze. Not only did Krause precisely replicate the Last Waltz Stratocaster’s unique neck profile and headstock shape, he even matched the “wear beneath the wear” on the fingerboard of the neck. “Wear beneath the wear” means that the neck had been refinished at some point in its life and then absorbed even more playing miles, requiring a multi-step process of finishing/aging, refinishing/aging. Every dent and ding was reproduced as meticulously as possible, even down to the headplug that was airbrushed at the factory to cover a manufacturing flaw. Middle and Bridge, Position 2. All Three, Position 3.
